The Princess Bride Movie Streaming
Mardi, mai 18th, 2010 |
The Princess Bride Movie Streaming.
Movie Title: The Princess Bride The Princess Bride is available for streaming or downloading. |
Here’s what is modern on the 20th Edition DVD:
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- “The Princess Bride: The Untold Tales”
- “The Art of Fencing” Featurette
- “Fairy Tales and Folklore” Featurette
- “Moral Esteem and High Adventure: The Official The Princess Bride DVD Game
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The Dismay Pirate Roberts/Buttercup Editions include all of the Special Edition features plus:
French (Dolby Digital 2.0 Surround) Audio Track
“Scare Pirate Roberts: Greatest Tale of the Seven Seas” mockumentary
“Cherish is Like a Storybook Myth” featurette
“Miraculous Make-up” featurette
Quotable “Battle of Wits” trivia game
Collective booklet: “Fezzik’s Guide to Florin”
I assume the Panic Pirate Robert’s/Buttercup Edition, but there are three reasons why you might want to pick the modern 20th edition:
1. You don’t already occupy the movie (shame on you) .
2. You get all things Princess Bride.
3. The DVD screen art is fabulous!
I remember when I first saw this movie, around age 13, I had no notion who the Man in Dusky was through the entirety of the first act. Determined, it’s apparent now, given the wait on of hindsight, but because of the actor’s anonymity at the time I never made the distinct connection. On top of that, most of the rest of the cast was unknown to me as well (except for the one non-actor, Monsieur Roussimoff, a.k.a. Andre the Giant) . The sweeping anonymity of the company allowed the film to do two things: first, the audience isn’t distracted by the presence of the Gargantuan Star; and second, unknown actors allow for no preconceived notions of their characters. Which in turn allows the filmmakers to subvert character types, and insert some correct surprises into the anecdote.
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Which, to construct a long point even longer, is the whole ethos of the film
William Goldman’s book “The Princess Bride”, on which this film is based, intended to disclose only the ‘good parts’ version of the fable of Westley and Buttercup. That is, it would leave in the high drama and action and romance, while curbing the back-stories and superfluous exposition. William Goldman, in his role as adaptor of the book into a screenplay, remains fiercely accurate to this proposition. He’s constructed a framing blueprint, wherein a grandfather is reading to his sick grandson, which allows him to acquire meta-fictional comments on the seemingly typical fairy memoir being told. In doing so, however, he subverts the fairy tale’s typicalness, making it worthy more surprising and revelatory. At one point the grandson worriedly asks about the fate of the villain: “Who kills Humperdinck? ” The grandfather calmly answers, “No one. He lives.” Which is not only a right statement, for that is exactly what happens, but it doesn’t even advance conclude to ruining the raze of the sage. On the contrary, it increases the suspense, and makes what does happen quite amazing.
Rob Reiner, in only his third time out in the director’s chair, does a fabulous job of translating Goldman’s script to the shroud. He utilizes elements, whether by choice or by budgetary restraints, that would at first appear incongruous, but work as a whole to support the audience off-balance, and thus more receptive to the surprises the movie has in store for them.
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The acting is, stylistically, all over the station. It ranges from the unabashed over-the-top passion of Mandy Patinkin (Inigo Montoya), to the bumbling buffoonery of Wallace Shawn (Vizzini), to the gentle anti-acting of Andre the Giant (Fezzik), to the unsubtle Snidely Whiplash villainy of Chris Sarandon (Prince Humperdinck), to the Borscht Belt mugging of Billy Crystal (Miracle Max), to the cold malice of Christopher Guest (Count Rugen), and the stark realism of Robin Wright (Buttercup, the title character) . No two actors catch the same road, but they all somehow approach at the same space. Cary Elwes, playing the hero, is the only one who falls easily into all these styles, as the set demands it. He is menacing, suave, chilly, comical, athletic, simple, sweet, fierce, etc., etc., etc. Elwes and Patinkin are the standouts for me — their swordfight atop the Cliffs of Insanity is technically sparkling, literate, and extremely racy — but the entire cast effective. Even the smaller roles (British comedians Mel Smith and Peter Cook each have brief but memorable one-joke cameos) gain their stamp.
The film’s musical gather, detached by ‘Dire Straits’ frontman Sign Knoplfer, swings and sways from moment to moment. In one, he uses stark, bouncy lines to underscore a simple scene of Fezzik and Inigo trading rhymes. In the next, he layers synthesized strings to call up the gravity of the Man in Black’s stride. My only predicament with the music is the song written for the closing credits: it’s weepy and melodramatic, without the sense of subversive fun that had prevailed up until that point.
The sets and scenery switch befriend and forth between staunch and obviously deceptive. Filmed in and around the English countryside, most of the outdoor locations (the severe valley, the woods) breathe reality and beauty into the legend. Others, such as the Fire Swamp, the Pit of Despair, and the plateau above the Cliffs of Insanity, have the phony feel of a Hollywood soundstage. Again, the film keeps the audience on their toes.
So now that I am 27 instead of 13, and know back-to-front the filmmographies of all the actors eager, and have seen the film more than a dozen times, and can quote lines from it at the descend of a hat, do I come by it any less provocative than on that first viewing? Of course not. Goldman and Reiner’s film rewards multiple viewings, with its wit, its playfulness, and most importantly, its subversiveness. Will there ever be a time when I tire of watching it? A time like that is moral now, as Vizzini might say, “inconceivable”.